Green Space New Music Festival
Through the curation of outdoor concerts addressing sustainability and the community, Green Space New Music Festival creates an avenue to raise awareness for Greensboro’s public green spaces. Each concert in the festival has a distinct focus, and as a collective, these concerts work towards a larger mission of cultivating interconnectivity between community, music, and the environment. The festival features Atlanta ensemble Chamber Cartel, UNCG Percussion Ensemble, Present~Continuous, and UNCG SCI Chapter.
Works by Anna Wallace & Lowell Fuchs at Greensboro Project Space
Anna Wallace presents The Futility of Womanhood in Three Acts. Arching between absurd humor and painful honesty, Wallace manipulates her own body to perform actions with oversized plush versions of
a Diary, Brick, and Cootie Catcher. These painstakingly detailed soft-sculptures created by Wallace are grossly enlarged - her feelings taking on a physical presence, threatening not only her sanity but also her body.
Lowell Fuchs presents for decorative purposes only: I spent much of my childhood in antique stores. My parents are avid antiquing hobbyists with antique booths that they’ve catered to on the weekends for almost two decades. The interior of our home was filled with antiques. The basement was used for storing the antiques that failed to be purchased in the shop, while the remainder of our home was a canvas for which my mother practiced her remarkable interior designing artistry with artifacts too treasured to be sold. Over the years, I acquired a small collection of old antique percussion instruments, along with other old musical oddities. Among these is a pump organ that was beyond repair when purchased. I decided to strip out its inside and make a desk from the frame that I could write music on, thus repurposing this musical object for another musical purpose.
for decorative purposes only (2017) is a interactive sound sculpture written for antique artifacts that have since transitioned from functional to decorative. Using amplification, live processing, and a series of unconventional techniques, these artifacts are reanimated and used to create a quasi-improvised sound piece. Each performance will use a set of different and interesting found antique objects.
About Anna Wallace:
Anna Wallace (b. 1990, Durham, NC) is a current MFA candidate at the University of North Carolina at Greensboro. In 2013 she received her Bachelor of Fine Arts degree in Ceramics at the Cleveland Institute of Art in Cleveland, Ohio. Wallace has also supplemented her education with classes at the Penland School of Craft and two research trips to Europe funded by the Cleveland Institute of Art and the University of North Carolina at Greensboro. With a background in ceramics, she now adds textiles, video, and performance to her list of mediums, while maintaining a focus on the handmade. Between these widely diverging avenues runs the narrative thread of Wallace's own struggles and triumphs.
Photography by Eric Waters – Eric Waters Photography
MUSICIRCUS: Cornelius Cardew's Treatise
Treatise is a musical composition by British composer Cornelius Cardew (1936-1981). Treatise is a graphic musical score comprising 193 pages of lines, symbols, and various geometric or abstract shapes that eschew conventional musical notation. Implicit in the title is a reference to the philosophy of Ludwig Wittgenstein, which was of particular inspiration to Cardew in composing the work. The score neither contains nor is accompanied by any explicit instruction to the performers in how to perform the work. Cardew worked on the composition from 1963 to 1967.
Although the score allows for absolute interpretive freedom (no one interpretation will sound like another), the work is not normally played spontaneously, as Cardew had previously suggested that performers devise in advance their own rules and methods for interpreting and performing the work. There are, however, almost infinite possibilities for the interpretation of Treatise that fall within the implications of the piece and general principles of experimental music performance in the late 1960s, including presentation as visual art and map-reading (Anderson 2006).
This performance of Treatise was presented as a MUSICIRCUS in Eyedrum’s parking garage on June 19, 2016. Six to eight ensembles participated in performing various excepts culminating in the entire work. Throughout the musicircus, listeners wandered through the venue, explored the sounds created by individual ensembles, and experienced the amalgamation of all the sounds echoing throughout the garage.
A special thanks to Eyedrum Music & Art Gallery in Atlanta, GA and Robby Kee for hosting such a great event! Click to find out more about Eyedrum Music & Art Gallery!
Josh Alexander, Majid Araim, Zach Benator, Michael Brooks, Carlos Camacho, Jeff Crompton, Bethany Davison, Zach Dawson, Philippe Delage, Ellis Elize, Lowell Fuchs (Concert Director), Chris Gravely, Adam Gresham, Rob Holley, Olivia Kiefer, Jared Le Doux, Jimi Michiel, Amy O’Dell, Ian Smith, Michael Standard, Dillon Tanksley, & Zach Webb.
Photography by Carlos Camacho & Leslee Fuchs
Video by Carlos Camacho